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20120928
20121006
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spanning more than ten years. director j. carter brown worked closely with architect i. m. pei in its development. seven works of art were commissioned it was agreed that a specific pieceas needed to animate the unbroken expanse of wall in the central courtyard. but the artist would have to have a capacity for monumental concepts, with a sense of color and scale appropriate to the site. a unanimous choice was spanish artist joan miro. born in the catalan city of barcelona in 1893, miro has remained close to the land and its people. but as a young man in paris, he joined th friends like max ernst and jean arp in the emerging surrealist movement of the 1920s. in his painting "the farm," miro's characteristic symbols and themes began to appear: serpentine shapes, checkerboard patterns, infinite sce represented by the moon or a star. in 1922, he painted "the farmer's wife," the ancestress of countless female symbols that also became a continuing motif in miro's art. in 1924, his art broke free of gravitational constraints in theurrealistic world of "harlequin's carnival." over the years,
interior spaces. it was a collaborative effort spanning more than ten years. director j. carter brown worked closely with architect i. m. pei in its development. seven works of art were commissioned it was agreed that a specific pieceas needed to animate the unbroken expanse of wall in the central courtyard. but the artist would have to have a capacity for monumental concepts, with a sense of color and scale appropriate to the site. a unanimous choice was spanish artist joan miro. born in the catalan city of barcelona in 1893, miro has remained close to the land and its people. but as a young man in paris, he joined with friends like max ernst and jean arp in the emeing surrealist movement of the 1920s. in his painting "the farm," miro's characteristic symbols and themes began to appear: serpentine shapes, checkerboard patterns, finite space represented by the moon or a star. in 1922, he painted "the farmer's wife," the ancestress of countless female symbols that also became a continuing motif in miro's art. in 1924, his art broke free of gravitational constraints in theurrealtic worl
, "you get the doll with the brown skin. "that's the ugly doll. you get that one because you have brown skin." and it was very shocking to me to hear that. so it was my job to walk over and talk about skin and that just because this child's skin was a different color didn't mean that she was any different from you, and that's very beautiful, and that doll was very beautiful. and that's why we have lots of different-color dolls-- because we are different colors, and it's beautiful to be all different colors. and so that's why we provide those dolls, so they become more aware of that, but it is tricky. and sometimes you do want to mention it also to the parents so the parents can realize, possibly, what this child is thinking, and maybe they picked up something wrong on something on tv or something. you try to get to the bottom of it and then be very aware of that. i had a little boy in my program who sort of used a derogatory word, and what i did was, i said, "we don't use those words here, "but every time you use a positive word, what we'll do is, we'll talk about that word." and he sta
about what robert brown did back in 1830. he's looking in a microscope. and in the microscope, he sees little things jiggling. and at first he thought it was something in there alive, those little particles of soot and these little things are jiggling, jiggling, jiggling, and brown thought that maybe he saw atoms, but they weren't atoms. guess what they were, gang. little specks of dust banged into by, guess what. atoms. it's like this. see this styrofoam cup? you guys can all see this. see this little bb right here, little bb in my hand. i got a whole bunch up in there, see them, i spill them on the table. see those little bbs, you guys can't see those bbs, 'cause you're too far away from them, okay? but can you picture this? can you picture the styrofoam cup on the table and all these bbs, all moving around haphazardly, chaotically and every once in a while the bbs and more bbs hit one side of the cup than the other, what will the cup do? wouldn't the cup start to jiggle? and you guys can see the cup, but you can't see what's making the cup jiggle. you know there's something smaller
Search Results 0 to 3 of about 4